Search Results

Creator:

Doll & Richards (Gallery)  Search this

Names:

Azeez Khayat Gallery  Search this

Kleemann Galleries  Search this

Macbeth Gallery  Search this

Museum of Fine Arts, Boston  Search this

Chetcuti, John  Search this

Freiman, Robert  Search this

Goodrich, Lloyd, 1897-1987  Search this

Haseltine, William Stanley, 1835-1900  Search this

Homer, Winslow, 1836-1910  Search this

Lindenmuth, Tod  Search this

Meyerowitz, William, 1887-1981  Search this

Shepler, Dwight, 1905-  Search this

Verner, Elizabeth O'Neill, 1883-1979  Search this

Woodward, Stanley Wingate, 1890-1970  Search this

Wyeth, Andrew, 1917-2009  Search this

Zoehler, Wendell H., 1907-1989  Search this

Extent:

87.5 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Financial records

Date:

1863-1978

bulk 1902-1969

Summary:

The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. Significant correspondents include John Chetcuti, Robert Freiman, Lloyd Goodrich, Tod Lindenmuth, Macbeth Galleries, William Meyerowitz, Museum of Fine Arts Boston, Stanley Woodward, and Andrew Wyeth, among many others.

Scope and Content Note:

The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. The bulk of the collection dates from 1902 when the gallery was incorporated and new books were begun. According to gallery employee Wendell Zoehler, many records from the 19th century were discarded and periodically, especially when the gallery moved, other records were discarded.

Incoming and outgoing correspondence documents sales, consignments, appraisals, exhibitions, and inquiries by artists and others to Doll & Richards for over a century. Significant correspondents include artists John Chetcuti, Robert Freiman, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others. Additional correspondents include Lloyd Goodrich from Whitney Museum of American Art, Azeez Khayat Gallery, Macbeth Galleries, Kleemann Galleries, and the Museum of Fine Arts in Boston. There is one letter from George Inness (1866). Outgoing correspondence is limited to 46 volumes of letterpress copybooks dating from 1930-1967.

Notes and research files primarily consist of compiled information about artists in which Doll & Richards dealt. These include card files related to the provenance of paintings by Winslow Homer and William Stanley Haseltine, and a book about Winslow Homer with notations by Zoehler about the sale of paintings .

Administrative and business records of general daily operations include an address book, meeting minutes, miscellaneous lists and notes, and a large card file of contacts with clients, consignors, artists, and businesses. A detailed description of the gallery's operations by Zoehler is also found here. Legal records include contracts, agreements, certificates of stock, certificates of copyrights, and photocopies of founding documents.

Although there are limited records prior to 1902, the financial records provide comprehensive detail of the gallery's financial transactions from the turn of the century through the early 1970s. Volumes of financial ledgers provide details of artwork bought, sold, and consigned; order forms for sales, framing, restoration, and shipping; gallery expenditures and salaries; records of client purchases; and other affairs. Many of the financial records are indexed and cross-referenced, offering researchers complex but rich documentation. The financial records should be consulted with the numerous inventory records that provide detailed information about the stock of art work held at the gallery. Inventory records also include documentation about the frames held by the gallery from the mid-1880s-1950. The gallery used sometimes complex codes to index and cross reference sales and stock. When known, these codes have been outlined in the more detailed series desciptions below, or filed within the appropriate boxes.

The history of Doll & Richards' exhibitions from the 1880s-1968 are documented in six disassembled bound volumes that contained exhibition catalogs and announcements. There are also additional loose catalogs and announcements. Additional printed materials include newspaper clippings related to exhibitions and the gallery and seven scrapbooks related to Doll & Richards' exhibitions from 1909-1943.

The bulk of the black and white photographs in the collection are of works of art by artists that Doll & Richards exhibited. There are only a handful of photographs of other subject matter, but include images of the gallery spaces at 2 Park Street, 71 Newbury, and 138 Newberry; and of artists.

Arrangement:

The collection is arranged as nine series:

Missing Title

Series 1: Correspondence, 1863-1972, bulk 1930s-1972 (Boxes 1-14; 14 linear feet)

Series 2: Notes and Research Files, 1880s-1978, bulk 1930s-1960s (Boxes 15-16, 78; 1.2 linear feet)

Series 3: Business Records, circa 1866-1978, bulk 1910s-1960s (Boxes 16-18; 1.9 linear feet)

Series 4: Legal Records, 1863-1906, 1941-1962 (Boxes 18, 78; 0.3 linear feet)

Series 5: Financial Records, 1871-1973, bulk 1902-1969 (Boxes 18-69, 79, BV81-112; 55 linear feet)

Series 6: Inventory Records, 1881-1969, bulk 1900s-1940s (Boxes 69-70, BV113-128; 2.3 linear feet)

Series 7: Printed Materials, circa 1880s-1968, bulk 1890s-1960s (Boxes 70-75; 4.9 linear feet)

Series 8: Photographs, circa 1880s-1960s (Boxes 75-78; 2 linear feet)

Series 9: Scrapbooks, 1908-1968, bulk 1908-1943 (Boxes 77, 80; 1.1 linear feet)

The records have been arranged according to the original order maintained by the gallery. Bound volumes containing exhibition catalogs glued to the internal spines have been disbound for preservation and proper housing.

Historical Note:

The Doll & Richards gallery originated in Boston in 1866 as an art gallery and framing shop owned by Charles E. Hendrickson, E. Adam Doll, and Joseph Dudley Richards. The gallery was a well-known Boston establishment for over 100 years that represented William Stanley Haseltine, Winslow Homer, William Morris Hunt, and Andrew Wyeth, among many other notable American painters, sculptors, and printmakers.

In 1870 Hendrickson retired and the gallery became Doll & Richards. After the untimely death of Doll in 1880, Richards purchased Doll's interest in the firm, retaining the gallery's well-known name. Under Richards' direction, the gallery prospered. Richards promoted the works of painter Winslow Homer, developing a market for his watercolors in Boston. He incorporated the gallery in 1902 and served as the treasurer and financier until his death in 1922 at 80 years old. The gallery then reorganized; Arthur McKean, who joined in 1911, became manager, and J.L. (Joe) Richards became treasurer. Fergus Turner, who joined the firm as a salesman in 1885 and became president in 1902, retained his role as president until 1938.

Over the century the gallery showcased contempory American artists, including William Morris Hunt, Dodge McKnight, William Stanley Haseltine, Laura Coombs Hills, Eliot O'Hara, Joseph Lindon Smith, Stanley Woodward, and Andrew Wyeth. The gallery also consigned paintings, prints, and objects from other major art galleries including Azeez Khayat Gallery, Kennedy Galleries, M. Knoedler and Co., Macbeth Gallery, Victor D. Spark, and Victor Waddington Galleries (Dublin, Ireland). According to long-time employee Wendell Zoehler (employed from 1929-1966), Doll & Richards' primary clientele came from the Social Register. In the summer months when wealthy Bostonians typically vacationed outside of the city, Doll & Richards remained open for tourists, many of whom became regular seasonal customers of the gallery.

The gallery experienced financial difficulties in the 1930s, leading to bankruptcy. Doll & Richards was purchased by McKean and incorporated in Maine in 1941. McKean sold Doll & Richards in 1962 to Maurice Goldberg; at this time none of the remaining family or staff were connected with the gallery. In 1973, the gallery was sold to Jeanne and Paul Sylva and closed.

Although the gallery always remained in the vicinity of Boston Common, it relocated numerous times over the years. In 1871 the gallery moved from 28 Summer Street to 145 Tremont Street. In 1878, the gallery remodeled and occupied the entire two-story building at 2 Park Street, renting out the second floor, known as the Hawthorne Room, for lectures. After thirty years on Park Street, Doll & Richards relocated to Newbury Street in 1908, beginning a succession of moves down Newbury Street approximately every twenty years, finally to 172 Newbury Street in 1962.

Related Material:

Among the other resources relating to the Doll & Richards gallery in the Archives of American Art is an oral history interview with Wendell Zoehler conducted by Robert Brown on April 14 and April 27, 1978.

Separated Material:

A daguerroteype of Gaetano Cardinal Bedini received with the records was transferred to the Smithsonian National Portrait Gallery on May 24, 2004.

Provenance:

The Doll & Richards records were donated to the Archives of American Art in numerous accessions between 1973 and 1979 by Jeanne and Paul Sylva, who purchased the gallery in 1973, and by former employee Wendell Zoehler.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art, American  Search this

Function:

Art galleries, Commercial -- Massachusetts

Genre/Form:

Photographs

Scrapbooks

Financial records

Citation:

Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care Fund

Identifier:

AAA.dollrich

See more items in:

Doll & Richards gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b774b9ae-a4eb-4849-9652-6be121c5142f

EDAN-URL:

ead_collection:sova-aaa-dollrich

Collection Creator:

Goodman, Cynthia  Search this

Container:

Box 14, Folder 10

Type:

Archival materials

Date:

circa 1987

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Cynthia Goodman papers, circa 1944-2001, bulk 1975-1996. Archives of American Art, Smithsonian Institution.

See more items in:

Cynthia Goodman papers

Cynthia Goodman papers / Series 2: Computer and Technological Art / 2.1: Exhibitions / 2.1.1: Digital Visions: Computers and Art, Everson Museum of Art (1987)

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9818374db-c6ab-46a9-b880-7f760dd7ca93

EDAN-URL:

ead_component:sova-aaa-goodcynt-ref321

Creator:

Doll & Richards (Gallery)  Search this

Subject:

Meyerowitz, William  Search this

Shepler, Dwight  Search this

Verner, Elizabeth O'Neill  Search this

Homer, Winslow  Search this

Lindenmuth, Tod  Search this

Woodward, Stanley Wingate  Search this

Wyeth, Andrew  Search this

Zoehler, Wendell H.  Search this

Haseltine, William Stanley  Search this

Goodrich, Lloyd  Search this

Freiman, Robert  Search this

Chetcuti, John  Search this

Museum of Fine Arts, Boston  Search this

Kleemann Galleries  Search this

Macbeth Gallery  Search this

Azeez Khayat Gallery  Search this

Type:

Photographs

Scrapbooks

Financial records

Citation:

Doll & Richards gallery records, 1863-1978, bulk 1902-1969. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9315

(DSI-AAA_SIRISBib)211510

AAA_collcode_dollrich

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211510

Creator:

Sheets, Millard, 1907-1989  Search this

Names:

Dalzell Hatfield Galleries  Search this

Millard Sheets & Associates Designs  Search this

Sheets, Mary Baskerville  Search this

Extent:

27.6 Linear feet

Type:

Collection descriptions

Archival materials

Slides (photographs)

Photographs

Date:

circa 1907-2000

Summary:

The Millard Sheets papers comprise 27.6 linear feet of material dating from circa 1907 to 2000 with bulk dates spanning 1956 to 1981. The collection documents Sheets's career as a designer, painter, and muralist, and his personal and professional interests through correspondence, writings, lectures, printed material, drawings, slides, photographs, and ephemera. A small addition donated 2018 by Carolyn Owen-Toole, Sheet's daughter. There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.

Scope and Content Note:

The personal papers of Millard Sheets (1907-1990) measure 27.6 linear feet and date from circa 1907-2000, with bulk dates of 1956-1981. The collection reflects Sheets's career as a designer, painter, and muralist, as well as his other personal and professional interests, through correspondence, writings, lectures, clippings, blueprints, drawings, slides, photographs, and ephemera.

The Project Files comprise the largest group of materials in the collection and document design work undertaken by Sheets through his company Millard Sheets & Associates Designs. Sheets and his associates produced concept drawings and blueprints and supervised the construction for a wide range of design projects that ranged in scale from architectural plans for private residences to bid proposals for shopping malls and financial institutions located in California and the Southwest.

Sheets designed interior and exterior plans for over forty Home Savings and Loan bank branches in California. The distinctive modular design which Sheets created and then customized by integrating interior and exterior art elements that highlighted local historical events or natural features became synonymous with the image of Home Savings and Loan. Sheets also teamed up with the architect Edward Durrell Stone to produce a proposal for the Capitol Mall Project, an urban renewal project for the Redevelopment Agency of the City of Sacramento. Researchers will find correspondence, job costs and billing statements, and notes that trace the development of these and other building construction projects. In some instances the documents are supplemented by blueprints, photographs, and/or drawings of the project, but in many cases, visual documentation is missing.

The Project Files also document work done by Millard Sheets on public projects such as the Family of Man mural in the Los Angeles City Hall Annex, a mosaic dome in the National Shrine of the Immaculate Conception, Washington, D.C., and the Word of Life mural at the University of Notre Dame, Ind., along with numerous other murals and mosaics created for private individuals and corporations.

The Correspondence Series primarily reflects the interaction between Sheets and his clients, colleagues, and personal acquaintances. These files will prove valuable to researchers who are interested in the way that Sheets's beliefs about the role of art in everyday life impacted the way he conducted business and managed both large and small design projects. The correspondence also reflects Sheets's interest in popular American culture, travel, political issues of the day, and art collecting.

The Membership Files document the wide variety of interests that Sheets maintained through active membership in associations and organizations. The material in this series consists primarily of correspondence, minutes of meetings, and notes which Sheets created or used as he served as a board member or trustee on a number of organizational boards, such as the California Institute of the Arts, the Claremont Colleges, Virginia Steele Scott Foundation, Webb School of California, and Goodwill Industries of Southern California.

Also found in this series is material that documents his interest and participation in various recreational and professional organizations. Sheets maintained a long association with the Economic Roundtable, a group of businessmen who met regularly to give presentations and share discussion on contemporary political and social issues. Sheets was a frequent speaker and his talks given at the Economic Roundtables can be found in Lectures and Speeches, a subseries of the Writings Series.

Included in the Millard Sheets & Associates Designs, Inc. series are records that reflect the day-to-day operations of Sheets's design firm. Found here are chronological copies of correspondence that were sent out, files Sheets maintained on various independent contractors that the design firm frequently used, resumes and letters of recommendation that Sheets received regarding potential employees, as well as records relating to the cost and maintenance of Sheets's office building.

The Teaching and Workshop Files document the instructional activities undertaken by Sheets throughout his career in the arts. Although Sheets became pivotal in establishing a regionally recognized art department at Scripps College in Claremont, California, the files that reflect his academic position there are limited in scope and depth. Researchers will find more substantive the files that he maintained on the numerous art demonstrations and paintings workshops that he conducted privately throughout his career. Sheets traveled extensively around the world through his teaching activities and the files in this series track his path.

Closely related to the Teaching and Workshop Files is the Painting Trips series. The material in these files document Sheets's service as an American Specialist in the Bureau of Educational and Cultural Affairs of the USIS, Department of State. Sheets served two times as a cultural arts representative in Turkey in 1960 and in the former USSR in 1961. Sheets also made numerous trips to South East Asia, which had proved an area of fascination for him since his experiences as a war correspondent in Burma and India in World War II. The files in this series document his painting trips to Tahiti, the Pacific Ocean Rim, and Hawaii. Also found are files that detail his painting activities in Mexico.

The Exhibition Files reflect the records that Sheets maintained regarding his participation in art exhibitions, as well as his files on art shows that he personally directed or organized for public or private groups or organizations. Although Sheets exhibited his work predominantly in the West and Southwest, the files in this series demonstrate that he exhibited both nationally and internationally as well.

Also found within the records for this series are files relating to Sheets's representation of his artwork through established galleries and art agents. The Dalziel Hatfield Galleries of Los Angeles, California, served as his primary agent for most of his painting career. Correspondence between Sheets and the Hatfields provide insight into Sheets's development into a regionally and nationally significant watercolorist and painter. The files relating to the Kennedy Galleries in New York and the Circle Gallery in Chicago reflect Sheets's efforts to maintain a national presence in the arts community.

The Jury Files document Sheets's involvement as a juror in regional, as well, as national shows. The files reveal the great variety of professional watercolor and painting exhibitions in which Sheets participated as either a jury panelist or solo judge.

The Writings Files provide an excellent source for researchers interested in Sheets's philosophical beliefs about the relationship between art and everyday life. His articles, lectures, and speeches predominantly address the role of the artist, the relationships that exist between artists and the community, and the role that art can play in making a fuller, more productive life. Also found in the files of this series are articles written by others about Sheets.

The Biographical Material series provides a short introduction to Millard Sheets. The files consist of the calendars maintained by Sheets and his wife and staff, which were used to coordinate his many commitments and appointments. Also found in the files of this series are family chronologies that were created by Mary Baskerville Sheets. Medical records and resumes provide personal information about Sheets's background and health. A small file of military memorabilia provides information about Sheets's contributions to the war effort in World War II.

The Printed Matter series documents family activities and personalities through publicity clippings. Also found are exhibition catalogs and announcements that Sheets saved regarding other artists. Miscellaneous interests and activities of Sheets are found through magazine articles, brochures, and flyers.

The Photographs series includes photographic documentation for Sheets's artwork, horses, and major projects. A small group of photographs of Sheets are also in this series.

The files in the Artwork series include original drawings by Mary Baskerville Sheets and Millard Sheets.

There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.

Arrangement:

The collection is arranged into fifteen series. Small series, such as Biographical Material are generally based on type of document. Larger series, such as Correspondence or Project Files, are arranged alphabetically by name of correspondent or project. General correspondence has been made into its own series, but other series or subseries may also contain some correspondence. Within particular series, materials have been further divided into subseries which represent particular aspects of the project or event. For example, the Writings Series is further divided into subseries of books and articles, eulogies, and lectures and speeches. An outline listing series and subseries titles and dates follows.

Missing Title

Series 1: Biographical Material, 1907-1982, undated (boxes 1-2; 1.25 linear ft.)

Series 2: Correspondence, 1929-1990, undated (boxes 2-4; 2.75 linear ft.)

Series 3: Personal Business Records, 1933-1980, undated (boxes 5-6; 1.25 linear ft.)

Series 4: Membership Files, 1946-1982, undated (boxes 6-8; 2.5 linear ft.)

Series 5: Millard Sheets & Associates Designs, 1934-1982, undated (boxes 8-9; 1.0 linear ft.)

Series 6: Project Files, 1956-1981, undated (boxes 9-18; 8.25 linear ft.)

Series 7: Teaching and Workshop Files, 1932-1982 (box 18; 0.5 linear ft.)

Series 8: Painting Trips, 1959-1980, undated (box 18; 16 folders)

Series 9: Exhibition Files, 1932-1937, 1951-1988, undated (box 19; 0.75 linear ft.)

Series 10: Jury Files, 1941-1982 (boxes 19-20; 42 folders)

Series 11: Writings, 1936-1988, undated (boxes 20-22; 2.5 linear ft.)

Series 12: Printed Matter, 1936-1922, undated (boxes 22-23; 20 folders)

Series 13: Photographs, 1934-1983, undated (box 23; 17 folders)

Series 14: Artwork, circa 1929, undated (box 23; 2 folders)

Series 15: Unprocessed Addition, circa 1930-2000 (boxes 24, 26-30, OV25: 4.6 linear ft.)

Biographical Note:

"Your painting is a measure of your mind"-Millard Sheets

Millard Sheets, as one of the founding members of the "California Scene Painters," exerted a lasting influence upon subsequent generations of Western painters. He and the small group of painters who worked in California during the 1930s and 1940s, developed a new style of watercolor painting that was at the forefront of the American watercolor movement of the time, and that later gave rise to a subsequent generation of painters who became known as the California Regionalist school.

Sheets was born in Pomona, California on June 24, 1907. His mother died in childbirth, and his father, John Sheets, unprepared to raise a baby alone, sent Millard to Pomona, California to be raised by his maternal grandparents, Lewis and Emma Owen. Sheets's grandfather proved to be a guiding force in his life, and when Sheets's father remarried and offered Millard the opportunity to return to the Sheets household, Millard chose instead to remain with his grandparents.

Sheets's love of horses can be directly traced back to his childhood years spent living at his grandfather's horse ranch. Millard rode his first horse when he was three years old. Throughout his life, Sheets returned to the theme of horses in his paintings, as well as maintaining a private stable of horses, and raising and breeding racehorses.

His interest in art also began in childhood. When he was still a young boy, his two maternal aunts encouraged him to play with crayons and pencils. Sheets took his first painting lesson from a neighbor at the age of seven, and by 1919 he had already submitted artwork to the copy division of the Los Angeles County Fair fine arts show competition. He submitted a drawing he had copied of a tinted photograph of Lake KIlarney, California. Sheets won first prize in his division.

It was through this competition that Millard met Theodore B. Modra, a Polish artist who had retired to the Pomona area. After giving Sheets a lecture on the evils of copying art, Modra offered to give him art lessons.

Sheets continued to pursue his interest in art and enrolled in the Choinard School of Art in Los Angeles, California. By the time that he graduated in 1929, Sheets had also managed to come to the attention of Dalzell and Ruth Hatfield of the Dalzell Hatfield Galleries in Los Angeles, California. The Hatfields were one of the most influential art dealers in Southern California, and that same year, they sponsored Sheets in his first one-man exhibition in 1929. The exhibition brought Sheets to the attention of Western Coast art critics and launched Sheets on his painting career.

In 1929 Sheets also learned that he had won second place in the annual Edgar B. Davis art competition held in San Antonio, Texas. The award came with a cash prize and Sheets made plans to travel to Europe to study and paint. Shortly before his departure, however, he met an art student, Mary Baskerville, and they began a whirlwind romance. With Baskerville's enthusiastic support for European plans, and with her promise that she would wait for him, Sheets departed for New York and then Europe.

While overseas during 1929 and 1930, Sheets studied under Dorfinant, a master printer in Paris. Through his work at this studio workshop, he met Henri Matisse.

Five months after Millard returned to the California in 1930, Sheets and Mary Baskerville married. Sheets worked as the director of the Fine Arts Exhibition of the Los Angeles County Fair. In 1932 Sheets returned to school to study art and humanities at Scripps College in Claremont, California. After graduating from Scripps, school officials approached Sheets with an offer to set up a separate fine arts program and asked him to chair the new department. This was the beginning of a twenty year association with the school. In 1938, he also became the Director of Art at Claremont Graduate School.

Sheets left the school during the years of World War II to serve as a war-time artist and journalist for Life magazine, and from 1943-1944 was stationed on the Burma-India Front. His experiences in Asia appeared to affect him deeply. In contrast to his earlier works which featured backgrounds with neutral tones and brilliant shades that highlighted and punctuated the compositions, the paintings from the wartime featured somber tones. Sheets remarked of this time:

During the fighting and the time I spent in the C-B-1 theater, I was too shaken and intellectually stunned to do any complete paintings. I made many, many sketches, though, as well as a real effort to remember each scene that particularly affected me. Then, once I returned to America, I painted frantically, for months, exorcising demons. [Lovoos, Janice and Edmund F. Penney, Millard Sheets: One-Man Renaissance, Northland Press, Flagstaff, AZ, 1984]

Sheets returned from the war in 1944 and resumed his position at Scripps College until 1955 when he was approached by the Los Angeles County Board of Supervisors and asked to overhaul the fledgling Los Angeles County Art Institute. Sheets accepted the position and spent the next five years reshaping the mission and format of the school, renaming it the Otis Art Institute. In the years after Sheets left the directorship, the school eventually became part of the Parson's School of Design on the West Coast.

In 1953 Sheets founded the Millard Sheets Designs company. He hired between twenty-five and thirty artisans for large projects, with Susan Hertel, a former student of his, serving as his assistant in all the operations of the design studio. The working staff included engineers, registered architects, draftsmen, and artists, and the projects that the firm produced included murals, mosaics, stained glass, and sculpture for private homes and public and commercial businesses.

The design studio completed several major architectural projects throughout the late 1950s through the mid 1970s, including the design and construction of Cal Aero, a flight training school for the US Air Force, the National American Insurance Company offices for the California financier, Howard Ahmanson, Ahmanson Bank and Trust Company in Beverly Hills, many Home Savings and Loan Association Buildings, private residences, and the Scottish Rite Memorial Temples in Los Angeles and San Francisco, among many other projects.

Sheets also designed and completed mural and mosiac work for numerous public buildings in the Los Angeles area, as well as across the nation. Many of the murals and mosiacs were for those buildings designed by his firm while others were done as independent commissions.

In 1968 Sheets first proposed the murals he designed for the Los Angeles City Hall. His design was approved and he was awarded a commission to complete The Family of Man murals over the two main entrances to the Los Angeles City Hall. The murals were completed in 1971 and installed in 1972. Sheets also designed mosiacs and murals for the Mayo Clinic in Minnesota, the Library at Notre Dame University, the Scottish Rite Masonic Temple in Los Angeles, several Home Savings and Loan Association buildings in the Los Angeles area, the Detroit Public Library, and the Dome of the National Shrine of the Immaculate Conception in Washington, DC.

During the early 1960s Sheets participated in the American Specialist Program of the US Department of State. His first assignment was to Turkey in 1960, where he served as a visiting artist. The following year he went to the USSR in the same capacity.

During the early to mid 1950s Sheets became involved with Columbia Pictures and was technical advisor and production designer for a few years.

Millard Sheets was a member of the National Watercolor Society, the American Watercolor Society, the National Academy of Design, the Society of Motion Picture Art Directors, and the Century Association. Sheets actively promoted his own work and was a businessman, an active and prolific artist, instructor, and designer. Millard Sheets died on March 31, 1989 in Gualala, California.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reels LA 10) including a biographical sketch, career resume, and a list of sheets' work prepared in 1964. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Millard Sheets lent material for microfilming in 1965. Mary B. Sheets, Millard's widow, donated the papers to the Archives of American Art in 1992. Carolyn Owen-Toole, Sheet's daughter, gave a small addition of material in 2018.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art -- Study and teaching  Search this

Art -- California  Search this

Art and society  Search this

Horses -- Breeding  Search this

Watercolorists -- California  Search this

Muralists -- California  Search this

Art -- Philosophy  Search this

Designers -- California  Search this

Genre/Form:

Slides (photographs)

Photographs

Citation:

Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.sheemill

See more items in:

Millard Sheets papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw978141c20-c1e5-41ff-aa5d-6603f62f526f

EDAN-URL:

ead_collection:sova-aaa-sheemill

Artist:

John Steuart Curry, 14 Nov 1897 - 29 Aug 1946  Search this

Sitter:

John Steuart Curry, 14 Nov 1897 - 29 Aug 1946  Search this

Medium:

Oil on canvas

Dimensions:

76.2cm x 60.9cm (30" x 24"), Accurate

Type:

Painting

Date:

1946

Topic:

Self-portrait  Search this

John Steuart Curry: Visual Arts\Artist  Search this

John Steuart Curry: Male  Search this

John Steuart Curry: Visual Arts\Artist\Painter  Search this

John Steuart Curry: Visual Arts\Artist\Illustrator  Search this

John Steuart Curry: Visual Arts\Art instructor  Search this

John Steuart Curry: Visual Arts\Artist\Painter\Muralist  Search this

Portrait  Search this

Credit Line:

Owner: Kennedy Galleries, Inc.

Object number:

DLR00040

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm49d96783e-a71b-422f-b653-cccbe8a83c12

EDAN-URL:

edanmdm:npg_DLR00040

Creator:

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Subject:

Sellers, Charles Coleman  Search this

Ryder, Albert Pinkham  Search this

Burchfield, Charles Ephraim  Search this

Rattner, Abraham  Search this

Richardson, Edgar Preston  Search this

Richardson, Constance  Search this

Pollack, Peter  Search this

Watkins, Franklin Chenault  Search this

Bailey, Grace  Search this

Arms, John Taylor  Search this

Allston, Washington  Search this

Evergood, Philip  Search this

Eakins, Thomas  Search this

Culver, Charles B. (Charles Beach)  Search this

Bohrod, Aaron  Search this

Bailey, Truman E.  Search this

Krentzin, Earl  Search this

Gentle, Esther  Search this

Fleischman, Barbara  Search this

Marin, John  Search this

University of Michigan. Museum of Art  Search this

United States Information Agency  Search this

Whitney Museum of American Art  Search this

Archives of American Art  Search this

Kraushaar Galleries  Search this

American Federation of Arts  Search this

National Gallery of Art (U.S.)  Search this

Detroit Institute of Arts  Search this

Corcoran Gallery of Art  Search this

M. Knoedler & Co.  Search this

Kennedy Galleries  Search this

Henry Francis du Pont Winterthur Museum  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Midtown Galleries (New York, N.Y.)  Search this

Milwaukee Art Center  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Type:

Typescripts

Photographs

Citation:

Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Art patrons Michigan Detroit  Search this

Artists' studios -- Photographs  Search this

Philanthropists  Search this

Art -- Collectors and collecting -- United States  Search this

Theme:

Patronage  Search this

Record number:

(DSI-AAA_CollID)10245

(DSI-AAA_SIRISBib)213339

AAA_collcode_fleilawr

Theme:

Patronage

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213339

Creator:

H. Wunderlich & Company  Search this

Subject:

Wunderlich, Hermann  Search this

Kennedy & Company  Search this

Citation:

H. Wunderlich & Company and Kennedy & Company stock books, 1879-1915. Archives of American Art, Smithsonian Institution.

Topic:

Prints, American  Search this

Prints -- 19th century  Search this

Prints -- 20th century  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)10382

(DSI-AAA_SIRISBib)213724

AAA_collcode_hwundcom

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213724

Author:

Kennedy Galleries  Search this

Physical description:

v illus 26 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Date:

1967

1968

Topic:

Drawing, American  Search this

Pastel drawing  Search this

Watercolor painting, American  Search this

Aquarelle américaine  Search this

Dessin américain  Search this

Call number:

N6505 .K36a

N6505.K36a

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_11142

Artist:

Henry Benbridge, 20 Oct 1743 - 25 Jan 1812  Search this

Sitter:

Charles Cotesworth Pinckney, 25 Feb 1746 - 25 Aug 1825  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 76.7 x 64 x 3.8cm (30 3/16 x 25 3/16 x 1 1/2")

Frame: 92.7 x 79.4 x 6.7cm (36 1/2 x 31 1/4 x 2 5/8")

Type:

Painting

Date:

c. 1773

Topic:

Costume\Headgear\Military  Search this

Exterior\Forest  Search this

Charles Cotesworth Pinckney: Male  Search this

Charles Cotesworth Pinckney: Law and Crime\Lawyer  Search this

Charles Cotesworth Pinckney: Politics and Government\Presidential candidate  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Army\Officer\Revolutionary War  Search this

Charles Cotesworth Pinckney: Politics and Government\Diplomat  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Army\Officer\General  Search this

Charles Cotesworth Pinckney: Politics and Government\Diplomat\Minister  Search this

Charles Cotesworth Pinckney: Politics and Government\US Congressman\South Carolina  Search this

Charles Cotesworth Pinckney: Politics and Government\Governor\South Carolina  Search this

Charles Cotesworth Pinckney: Politics and Government\Statesman\Signer of Constitution  Search this

Charles Cotesworth Pinckney: Politics and Government\State Senator\South Carolina  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Prisoner of War  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; frame conserved with funds from the Smithsonian Women's Committee

Object number:

NPG.67.1

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 142

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4aee895d3-c180-49f6-a193-8cc65d562924

EDAN-URL:

edanmdm:npg_NPG.67.1

Artist:

James Peale, 1749 - 24 May 1831  Search this

Copy after:

Charles Willson Peale, 15 Apr 1741 - 22 Feb 1827  Search this

Sitter:

Horatio Gates, 1727 - 1806  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 58.4 x 48.3 x 2.5cm (23 x 19 x 1")

Frame: 77.5 x 67.3 x 5.1cm (30 1/2 x 26 1/2 x 2")

Type:

Painting

Date:

c. 1782

Topic:

Costume\Dress Accessory\Epaulet  Search this

Horatio Gates: Male  Search this

Horatio Gates: Politics and Government\State Legislator\New York  Search this

Horatio Gates: Military and Intelligence\Army\Officer\Revolutionary War  Search this

Horatio Gates: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; partial gift of Mr. Lawrence A. Fleischman

Object number:

NPG.69.50

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 142

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm42d6a14da-d717-4aee-9c95-9a1f50306203

EDAN-URL:

edanmdm:npg_NPG.69.50

Artist:

William Garl Browne Jr., 10 Oct 1822 - 28 Jul 1894  Search this

Sitter:

Zachary Taylor, 24 Nov 1784 - 9 Jul 1850  Search this

William Wallace Smith Bliss, 7 Sept 1815 - 5 Aug 1853  Search this

Braxton Bragg, 22 Mar 1817 - 27 Sep 1876  Search this

Presley H. Craig, 19th century  Search this

Joseph Horace Eaton, 12 Oct 1815 - 10 Jan 1896  Search this

Robert Selden Garnett, 1819 - 1861  Search this

Thomas B. Linnard, 1800 - 1900?  Search this

Joseph King Fenno Mansfield, 22 Dec 1803 - 18 Sep 1862  Search this

John Monroe, 1800 - 1900?  Search this

Medium:

Oil on canvas mounted on wood

Dimensions:

Object: 74.3 x 92.1 x 0.3cm (29 1/4 x 36 1/4 x 1/8")

Frame: 97.2 x 115.3 x 11.4cm (38 1/4 x 45 3/8 x 4 1/2")

Type:

Painting

Date:

1847

Topic:

Nature & Environment\Plant\Tree  Search this

Weapon\Sword  Search this

Nature & Environment\Animal\Horse  Search this

Architecture\Building\Tent  Search this

Exterior\Military Camp  Search this

Human Figures\Soldier  Search this

Braxton Bragg: Male  Search this

Braxton Bragg: Military and Intelligence\Army\Officer\Civil War  Search this

Braxton Bragg: Military and Intelligence\Army\Officer\General  Search this

Braxton Bragg: Science and Technology\Engineer\Civil engineer  Search this

Robert Selden Garnett: Male  Search this

Robert Selden Garnett: Military and Intelligence\Army\Officer\Civil War  Search this

William Wallace Smith Bliss: Male  Search this

Presley H. Craig: Male  Search this

Joseph Horace Eaton: Visual Arts\Artist  Search this

Joseph Horace Eaton: Male  Search this

Thomas B. Linnard: Male  Search this

Joseph King Fenno Mansfield: Male  Search this

John Monroe: Male  Search this

Zachary Taylor: Male  Search this

Zachary Taylor: Politics and Government\President of US  Search this

Zachary Taylor: Military and Intelligence\Army\Officer\War of 1812  Search this

Zachary Taylor: Military and Intelligence\Army\Officer\Mexican War  Search this

Zachary Taylor: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.71.57

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm44b04bc4c-95b1-4605-ae4f-0040ddf6aa42

EDAN-URL:

edanmdm:npg_NPG.71.57

Cast after:

William Rush, 4 Jul 1756 - 17 Jan 1833  Search this

Sitter:

Marquis de Lafayette, 6 Sep 1757 - 20 May 1834  Search this

Medium:

Bronze

Dimensions:

59.5cm (23 7/16"), Accurate

Type:

Sculpture

Date:

1824 (cast 1970)

Topic:

Marquis de Lafayette: Male  Search this

Marquis de Lafayette: Military and Intelligence\Army\Officer  Search this

Marquis de Lafayette: Military and Intelligence\Army\Officer\Revolutionary War  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.71.9

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm42e86a2e4-671a-4017-9741-c19f8145a171

EDAN-URL:

edanmdm:npg_NPG.71.9

Artist:

William Smith Jewett, 6 Aug 1812 - 3 Dec 1873  Search this

Sitter:

John Charles Frémont, 21 Jan 1813 - 13 Jul 1890  Search this

Medium:

Oil on canvas

Dimensions:

37.8 x 28cm (14 7/8 x 11")

Frame: 47.6 x 38.4 x 5.1cm (18 3/4 x 15 1/8 x 2")

Type:

Painting

Topic:

Costume\Headgear\Hat  Search this

Exterior\Landscape  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Costume\Jewelry\Chain  Search this

Personal Attribute\Facial Hair\Beard  Search this

Costume\Dress Accessory\Sash  Search this

Nature & Environment\Mountain  Search this

John Charles Frémont: Male  Search this

John Charles Frémont: Politics and Government\Presidential candidate  Search this

John Charles Frémont: Natural Resource Occupations\Explorer  Search this

John Charles Frémont: Military and Intelligence\Army\Officer\Civil War\Union Army  Search this

John Charles Frémont: Politics and Government\US Senator\California  Search this

John Charles Frémont: Politics and Government\Governor\California  Search this

John Charles Frémont: Military and Intelligence\Army\Officer\Major General  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.72.17

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 122

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm47d031264-1875-4319-8c73-37121481fe2e

EDAN-URL:

edanmdm:npg_NPG.72.17

Artist:

William Rush, 4 Jul 1756 - 17 Jan 1833  Search this

Sitter:

Winfield Scott, 13 Jun 1786 - 29 May 1866  Search this

Medium:

Plaster and paint

Dimensions:

Object w/out socle: 61 x 54.6 x 34.3cm (24 x 21 1/2 x 13 1/2")

Socle footprint: 54.6 x 34.3cm (21 1/2 x 13 1/2")

Type:

Sculpture

Date:

c. 1814

Topic:

Costume\Dress Accessory\Epaulet  Search this

Winfield Scott: Male  Search this

Winfield Scott: Literature\Writer  Search this

Winfield Scott: Politics and Government\Presidential candidate  Search this

Winfield Scott: Politics and Government\Public official  Search this

Winfield Scott: Military and Intelligence\Army\Officer\General  Search this

Winfield Scott: Military and Intelligence\Army\Officer\War of 1812  Search this

Winfield Scott: Military and Intelligence\Army\Officer\Mexican War  Search this

Winfield Scott: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.73.19

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 136

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4323f6fc5-e437-45fd-9150-5593b014cf95

EDAN-URL:

edanmdm:npg_NPG.73.19

Artist:

Unidentified Artist  Search this

Copy after:

John Singleton Copley, 3 Jul 1738 - 9 Sep 1815  Search this

Sitter:

Joseph Warren, 11 Jun 1741 - 17 Jun 1775  Search this

Medium:

Oil on canvas

Dimensions:

125.7cm x 100.3cm (49 1/2" x 39 1/2"), Accurate

Type:

Painting

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Printed Material\Document  Search this

Interior\Interior with Exterior View  Search this

Home Furnishings\Furniture\Table  Search this

Home Furnishings\Drape  Search this

Joseph Warren: Male  Search this

Joseph Warren: Politics and Government\Public official  Search this

Joseph Warren: Military and Intelligence\Soldier\Revolutionary War  Search this

Joseph Warren: Medicine and Health\Physician  Search this

Joseph Warren: Education and Scholarship\Educator\Teacher  Search this

Joseph Warren: Literature\Writer\Magazine article writer  Search this

Joseph Warren: Politics and Government\Patriot  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.77.33

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4d1b13fc6-a9b6-4f2b-90a2-cb1384b2830e

EDAN-URL:

edanmdm:npg_NPG.77.33

Collection Creator:

Fendrick Gallery  Search this

Container:

Box 69, Folder 21

Type:

Archival materials

Date:

1962-1964, 1971-1974, 1988, undated

Collection Restrictions:

The collection is open for research. Use of unmicrofilmed material requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.

See more items in:

Fendrick Gallery records

Fendrick Gallery records / Series 5: Museums and Galleries Files / 5.1: Domestic Museums and Galleries / New York

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e7d4ade7-2588-4150-ac79-f5efa7303d7f

EDAN-URL:

ead_component:sova-aaa-fendgall-ref950

Author:

Kennedy Galleries  Search this

Physical description:

47 pages illustrations, ports 26 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Date:

1971

Topic:

Art, American  Search this

Art américain  Search this

Call number:

N6505 .K36

N6505.K36

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_7911

Artist:

Soss Efram Melik, 02 Aug 1914 - 11 Oct 2003  Search this

Sitter:

Alexander Humphreys Woollcott, 19 Jan 1887 - 23 Jan 1943  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 87 x 61cm (34 1/4 x 24")

Frame: 96.8 x 72.1 x 3.8cm (38 1/8 x 28 3/8 x 1 1/2")

Type:

Painting

Place:

United States\New York\Kings\New York

Date:

1938

Topic:

Printed Material\Book  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Home Furnishings\Furniture\Seating\Chair\Armchair  Search this

Home Furnishings\Furniture\Bookcase  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Interior\Library  Search this

Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this

Alexander Humphreys Woollcott: Male  Search this

Alexander Humphreys Woollcott: Literature\Writer  Search this

Alexander Humphreys Woollcott: Journalism and Media\Journalist  Search this

Alexander Humphreys Woollcott: Performing Arts\Performer\Radio performer  Search this

Alexander Humphreys Woollcott: Literature\Writer\Essayist  Search this

Alexander Humphreys Woollcott: Performing Arts\Theater critic  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.68.35

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm485930c17-5611-419a-b475-53279004102d

EDAN-URL:

edanmdm:npg_NPG.68.35

Artist:

Gilbert Gaul, 1855 - 1919  Search this

Sitter:

John George Brown, 11 Nov 1831 - 8 Feb 1913  Search this

Medium:

Oil on canvas

Dimensions:

51.5cm x 64.8cm (20 1/4" x 25 1/2"), Accurate

Type:

Painting

Date:

1907

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Jewelry\Ring  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Artwork\Painting  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Interior\Studio\Art  Search this

Art implements\Palette  Search this

Art implements\Paintbrush  Search this

Personal Attribute\Facial Hair\Beard  Search this

Home Furnishings\Furniture\Desk  Search this

Art implements\Paint jar  Search this

John George Brown: Male  Search this

John George Brown: Visual Arts\Artist\Painter  Search this

John George Brown: Visual Arts\Artist\Painter\Genre painter  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.70.39

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4a81a8f3d-9932-4fbf-a3ae-193174887287

EDAN-URL:

edanmdm:npg_NPG.70.39

Artist:

Frederick William MacMonnies, 28 Sep 1863 - 23 Mar 1937  Search this

Sitter:

Frederick William MacMonnies, 28 Sep 1863 - 23 Mar 1937  Search this

Medium:

Oil on canvas

Dimensions:

73.5cm x 48cm (28 15/16" x 18 7/8"), Accurate

Type:

Painting

Date:

c. 1885-1900

Topic:

Nature & Environment\Plant\Flower  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Art implements\Palette  Search this

Art implements\Paintbrush  Search this

Personal Attribute\Facial Hair\Beard  Search this

Self-portrait  Search this

Frederick William MacMonnies: Male  Search this

Frederick William MacMonnies: Visual Arts\Artist\Sculptor  Search this

Frederick William MacMonnies: Visual Arts\Artist\Portraitist  Search this

Frederick William MacMonnies: Visual Arts\Art instructor  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.70.44

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm43beae86c-8ca0-44b2-92ea-7c6be80281b7

EDAN-URL:

edanmdm:npg_NPG.70.44